the picture of dorian gray illustrates the dangers of a society without moral boundaries essay

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The Victorian Society Image In The Picture Of Dorian Gray

“The Picture of Dorian Gray” by Oscar Wilde stands as a quintessential piece of Victorian literature, providing a profound commentary on the societal norms and values prevalent during the Victorian era. Set in the backdrop of 19th-century England, Wilde’s novel delves into the intricacies of human nature, the moral constraints of society, and the pursuit of aestheticism.

Table of Contents

Understanding the Victorian Society

Victorian society was characterized by a strict adherence to moral standards and social conventions. It was an era marked by conservatism, where appearances held paramount importance, and individuals were expected to conform to predetermined roles dictated by society.

Rigid Social Norms

The Victorian era was governed by rigid social hierarchies, where one’s social status was predetermined by birth. Class distinctions were deeply entrenched, and individuals were expected to adhere to the behavioral expectations associated with their respective social strata.

The Concept of Reputation

Maintaining a respectable reputation was of utmost importance in Victorian society. Any deviation from societal norms could result in social ostracization and condemnation. Thus, individuals were often compelled to prioritize their public image over their personal desires.

The Duality of Human Nature

Wilde’s exploration of human nature in “The Picture of Dorian Gray” centers around the dichotomy between one’s public facade and private reality.

The Public vs. the Private Self

Dorian Gray, the protagonist of the novel, epitomizes this duality, presenting himself as a paragon of virtue to society while indulging in hedonistic pursuits in private. This dissonance between his outward appearance and internal corruption serves as a commentary on the hypocrisy prevalent in Victorian society.

The Mask of Decency

Wilde’s portrayal of Dorian Gray as a charming and aesthetically pleasing individual underscores the superficiality of societal judgments based solely on appearances. Dorian’s pristine facade conceals his moral decay, challenging the notion of outward beauty as a reflection of inner virtue.

Art and Aestheticism in Victorian England

The Victorian era witnessed the emergence of the Aesthetic Movement, which prioritized the pursuit of beauty and sensual pleasure over moral and social obligations.

Aesthetic Movement

Led by figures such as Oscar Wilde, the Aesthetic Movement rebelled against the prevailing Victorian morality, advocating for the liberation of art from moral constraints. It celebrated beauty for its own sake and encouraged the pursuit of sensual experiences.

Wilde’s Aesthetic Ideals

Wilde’s own beliefs in the supremacy of art and beauty are reflected in “The Picture of Dorian Gray,” where he critiques the restrictive moral standards of Victorian society. Through Dorian’s pursuit of aesthetic perfection, Wilde challenges conventional notions of morality and explores the consequences of unrestrained hedonism.

Corruption and Decadence

Central to the narrative of “The Picture of Dorian Gray” is the theme of corruption and decadence, as Dorian descends into a life of debauchery and moral decay.

Influence of Society on Dorian

Dorian’s transformation from an innocent and virtuous youth into a morally bankrupt individual is influenced by the corrupting forces of society. His association with morally dubious characters and his immersion in the hedonistic pleasures of high society contribute to his downward spiral.

Consequences of Hedonism

Wilde uses Dorian’s eventual demise as a cautionary tale, highlighting the destructive consequences of unchecked hedonism and moral corruption. Dorian’s inability to reconcile his outward facade with his inner depravity ultimately leads to his tragic downfall.

The Portrait as a Mirror

Central to the narrative of “The Picture of Dorian Gray” is the eponymous portrait, which serves as a symbolic representation of Dorian’s soul.

Symbolism of the Portrait

The portrait functions as a mirror, reflecting the true nature of Dorian’s soul and serving as a visual representation of his moral decay. As Dorian indulges in increasingly immoral behavior, the portrait becomes increasingly grotesque, mirroring his inner corruption.

Reflection of Dorian’s Soul

Wilde utilizes the portrait as a literary device to explore the theme of moral conscience. The juxtaposition between Dorian’s outward appearance and the deteriorating state of the portrait underscores the incongruity between societal expectations and individual morality.

The Impact of Dorian Gray on Victorian Society

“The Picture of Dorian Gray” elicited considerable controversy upon its publication, challenging the moral sensibilities of Victorian society.

Critique on Hypocrisy

Wilde’s scathing critique of Victorian hypocrisy and double standards sparked public outcry, with many condemning the novel as immoral and decadent. The juxtaposition of Dorian’s outward charm with his inner corruption forced readers to confront the moral ambiguities inherent in Victorian society.

Challenging Conventional Morality

By subverting traditional notions of morality and virtue, Wilde forced readers to question the validity of societal norms and conventions. “The Picture of Dorian Gray” served as a catalyst for discussions surrounding the role of art in society and the boundaries of moral acceptability.

Legacy of The Picture of Dorian Gray

Wilde’s masterpiece continues to resonate with audiences to this day, leaving an indelible mark on literature and popular culture.

Literary Influence

“The Picture of Dorian Gray” remains a seminal work in the canon of English literature, admired for its wit, sophistication, and incisive social commentary. Its exploration of timeless themes such as beauty, morality, and the human condition ensures its enduring relevance.

Continued Relevance

Wilde’s exploration of the duality of human nature and the conflict between morality and desire remains as relevant today as it was during the Victorian era. The novel’s enduring popularity speaks to its universal themes and its ability to provoke thought and discussion across generations.

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“The Picture of Dorian Gray” stands as a timeless masterpiece that transcends the confines of its Victorian origins. Through its exploration of themes such as morality, aestheticism, and the duality of human nature, Wilde’s novel continues to captivate audiences and challenge societal norms.

Why is “The Picture of Dorian Gray” considered controversial?

The novel’s exploration of themes such as moral corruption, hedonism, and the duality of human nature challenged the prevailing moral sensibilities of Victorian society, leading to its controversial reception.

What role does the portrait play in “The Picture of Dorian Gray”?

The portrait serves as a symbolic representation of Dorian’s soul, reflecting his moral decay as he indulges in increasingly immoral behavior.

How does Wilde critique Victorian society in “The Picture of Dorian Gray”?

Wilde critiques Victorian society by exposing its hypocrisy and double standards, challenging conventional notions of morality and virtue.

What is the significance of aestheticism in the novel?

Aestheticism represents a rebellion against Victorian moral constraints, advocating for the pursuit of beauty and sensual pleasure for their own sake.

Why does “The Picture of Dorian Gray” continue to resonate with audiences today?

The novel’s exploration of timeless themes such as the conflict between morality and desire, the duality of human nature, and the pursuit of aestheticism ensures its continued relevance and popularity.

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The Picture of Dorian Gray Summary and Analysis

Home » Literature Explained – Literary Synopses and Book Summaries » The Picture of Dorian Gray » The Picture of Dorian Gray Summary and Analysis

Dorian Gray Introduction

The Picture of Dorian Gray is a novel written by Oscar Wilde and published in 1890. Having been no stranger to scandal in his personal life, Wilde’s novel brought the philosophy of aestheticism to the public eye.

Dorian Gray is in part gothic fiction, but it is also a comedy of errors, following a young and attractive socialite as he trades his soul for eternal youth and beauty. His descent into sin and hedonism lead him to question where one finds the real source of beauty in life.

Dorian Gray Literary Elements

Type of Work: Novel

Genres : Gothic; comedy of manners

Published Date: 1890

Setting: Late nineteenth century in London, England.

Main Characters: Dorian Gray, Basil Hallward, Lord Henry Wotton, Sibyl Vane

Protagonist: Dorian Gray

Antagonist: Dorian Gray; James Vane

Major Thematic Elements: Art’s purpose; youth and beauty as vehicles of influence; superficiality of society; the dangers of social influence

Motifs: The picture of Dorian Gray; white colors; homoerotic relationships

Exposition: Celebrated artist Basil Hallward meets Dorian Gray and, enthralled by his beauty, asks Dorian to sit as a model for his paintings.

Plot: chronological, through the eyes of an anonymous third person omniscient narrator

Major Symbols: Opium dens, James Vane, the yellow book

Climax: Dorian kills Basil

Literary Significance of Dorian Gray

At this point in Victorian England, this sort of attitude towards art was unusual and somewhat revolutionary. Until this point, art was expected to uphold and reinforce morals and so stripping art of that responsibility was bold and uncomfortable. In many ways, aestheticism failed to really uphold its core purpose because it did influence a social and artistic movement.

One of the reasons why The Picture of Dorian Gray is so widely studied to this day is because it brings this puzzling aspect of aestheticism to light. The novel is partly gothic fiction, partly a comedy of manners, and partly a philosophical engagement. The is much to be picked apart from this novel and just as Victorian audiences felt confused, many literary scholars still find areas to continue to disagree about in terms of deeper meaning.

The Picture of Dorian Gray Summary

In chapter two, Dorian woos the guests of the party with his charm and beauty. Dorian is going to sit for another portrait for Basil and he invites Lord Henry to stay and keep him company while he models. Basil dislikes the idea, saying that Lord Henry will be a bad influence on him. While Dorian models and Basil paints, the three discuss their personal philosophies. After the portrait is finished, Lord Henry admires it, but Dorian feels sad looking at it, suddenly aware that his youth and beauty will not last forever.

In chapter three, Lord Henry does some sleuthing into Dorian’s background. He finds out that the young man has an unhappy past, coming from a family with a troublesome social background. Lord Henry realizes that he could probably have great influence over Dorian because of this. The two go on to develop a friendship and when, weeks later, Dorian falls in love with a beautiful young woman, he is eager to tell Lord Henry all about it. The young lady is named Sibyl Vane and she is an actress who does Shakespeare plays. Dorian and Sibyl waste no time before getting engaged.

As Sibyl continues her acting career, she finds that her acting is terrible now that she is in love. She feels that pretend emotions are no longer interesting to her now that she has the real thing. Despite her acting career taking a hit, she is still happy. Dorian is appalled and no longer feels that he is in love with Sibyl. Distressed, Dorian wanders the streets of London alone. At this point in chapter seven, Dorian returns home to find that the portrait that Basil painted of him has developed a faint sneer. Dorian feels ashamed of himself and goes to bed with plans to make amends with Sibyl the next day.

The next morning, Dorian finds that the face in the painting has started to look even crueler than before. Lord Henry arrives and informs Dorian that Sibyl committed suicide after Dorian left her the previous night. Dorian resolves to live a life of hedonistic values and that he will maintain his youth and beauty while his portrait bears the marks of age and experience instead. Basil is hurt to find that this change has come over Dorian and blames Lord Henry’s influence. Basil requests to show the portrait at an art show, but Dorian refuses to allow it, instead keeping it hidden for himself behind a screen. In chapter ten, Dorian’s madness starts to really show. He has some men help him move the portrait into an abandoned school room near his apartment so that it can be kept away from prying eyes.

As years pass, Dorian maintains his youth and beauty as he falls more and more down a rabbit hole of hedonism. Rumors develop that he engages in sinful and dark behaviors and has made a pact with the devil. In chapter eleven, Dorian notices with delight the growing contradiction between his dark and corrupted soul and his youthful and innocent appearance. Dorian becomes paranoid that someone will find and steal his portrait.

Chapter twelve sees Dorian about to turn 38. While he is out the evening before his birthday, he passes Basil on the street. Basil follows Dorian home and confronts him about his behaviors, warning him that nobody can escape their sins. Basil asks Dorian about the rumors that trail him and why all of his relationships end in disaster. It is revealed that one young man who Dorian befriended committed suicide and others had their entire careers ruined. Basil laments that he wishes he could see Dorian’s soul, which amuses Dorian. He takes Basil to the painting to show him how he has maintained his beauty. Basil begs Dorian to pray for forgiveness but instead Dorian murders Basil by stabbing him repeatedly.

Overwhelmed, Dorian begins to seek out solace in opium dens. He knows that he cannot be forgiven for his sins, so he opts to forget them instead. In chapter sixteen, James Vane, Sibyl’s brother, has tracked Dorian down and threatens him at gunpoint. Dorian tricks James into thinking that he is not the right person, since it has been eighteen years since Sibyl’s death, but Dorian is clearly not old enough to have been responsible all those years ago. James lets Dorian leave but soon discovers that he had the responsible person all along.

Over the next couple of chapters, Dorian falls more and more paranoid and miserable. Terrified that James will catch up with him and kill him, Dorian can hardly leave his house. When he finally does, he feels that he sees bad omens and realizes that he has lost any ability to love. He wishes that he could feel anything.

In chapter nineteen, Dorian has finally had enough. He wants to try and find a way to live a life of virtue. He tells Lord Henry that he murdered Basil, but Lord Henry laughs and says that Dorian is not a vulgar enough person to have committed a murder. Finally, utterly lost and feeling trapped by a life of sin, in the final chapter of the book, Dorian takes a knife to the painting. When noises are heard by servants, they enter the room finding the portrait showing a young a beautiful Dorian and an old, ugly man on the floor with a knife through his heart.

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The Picture of Dorian Gray

Oscar wilde.

Ask LitCharts AI: The answer to your questions

Welcome to the LitCharts study guide on Oscar Wilde's The Picture of Dorian Gray . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

The Picture of Dorian Gray: Introduction

The picture of dorian gray: plot summary, the picture of dorian gray: detailed summary & analysis, the picture of dorian gray: themes, the picture of dorian gray: quotes, the picture of dorian gray: characters, the picture of dorian gray: symbols, the picture of dorian gray: literary devices, the picture of dorian gray: quizzes, the picture of dorian gray: theme wheel, brief biography of oscar wilde.

Historical Context of The Picture of Dorian Gray

Other books related to the picture of dorian gray.

• Full Title: The Picture of Dorian Gray
• When Written: Some time between 1889, when the story was commissioned, and 1890
• Where Written: London
• When Published: It was initially published in a magazine called Lippincott’s Monthly in July of 1890.
• Literary Period: Aestheticism
• Genre: Aestheticism, Philosophical Fiction, Gothic Fiction
• Setting: London
• Climax: Dorian becomes so tormented by the portrait that he stabs it with a knife, but when the scene is discovered, it is Dorian himself who lies dead on the floor.
• Antagonist: Dorian and the other characters are surrounded by antagonistic influences, which seem to be a part of day to day life in the high society of London. These influences, fashion, classism, obsessions with aesthetics and reputation are embodied by Lord Henry Wotton, making the man and his ideas seem like the main antagonist of the book.
• Point of View: An omniscient narrator; this narrator guides us in the past tense between one place and another, able to show us the interior workings of the main characters

Extra Credit for The Picture of Dorian Gray

Dorian Gray Syndrome. Dorian Gray’s name still haunts popular culture but it also has a more serious legacy. Dorian Gray Syndrome is now a common term to describe a cluster of narcissistic qualities. It often refers to severe mental illness and can be diagnosed from symptoms reminiscent of Dorian’s in the novel.

The real Dorian? It has been suggested that the inspiration for Dorian Gray was a man called John Gray, who, though very handsome and a good poet, was dropped by Wilde in favor of his new love Lord Alfred Douglas. He apparently signed his love letters “Dorian”, after an ancient tribe called “The Dorians”.

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Aestheticism and Morality in Oscar Wilde’s « The Picture of Dorian Gray» (1890)

Cet article a été rédigé dans le cadre d'un stage à l'ENS de Lyon.

Introduction

When  The Picture of Dorian Gray  was first published in  Lippincott’s Monthly Magazine  in July 1890, it was decried as profoundly immoral even though some passages had already been censored by the publisher. One critic wrote for instance in the  Daily Chronicle  that it was “a tale spawned from the leprous literature of the French  Décadents  – a poisonous book”, and denounced “its effeminate frivolity” and “its theatrical cynicism”  (([Anonymous], Review of  The Picture of Dorian Gray ,  Daily Chronicle , 30 June 1890, 7, repr. in Beckson (ed.),  Critical Heritage , 72. It is worth mentioning that the book was used as a piece of evidence of Oscar Wilde’s “gross indecency” during his trials in 1895.)) . Such attacks led to the publication of a revised edition in 1891, with six additional chapters and a preface in which Wilde rejected the attribution of moral values to works of art and literature , famously asserting that “There is no such thing as a moral or an immoral book. Books are well written or badly written – that is all”. In a playfully provocative tone,  The Picture of Dorian Gray  explores the depths of human conscience and problematises literature’s influence upon the reader within a highly moralistic society.

1. A Gothic narrative of duplicity and transgression

Although not always categorised as such, The Picture of Dorian Gray is distinctively set in the tradition of the Gothic novel . Wilde’s Faustian tale of a man who sacrifices his soul for eternal youth and a life of pleasures features one of the genre’s essential themes: the violation of natural and moral laws, through which society’s deepest anxieties are represented. The “magical” painting in particular introduces a supernatural dimension which typically challenges the intelligibility of the world depicted and unsettles defined boundaries . As the portrait acquires “a life of its own” (113), the dichotomy between art and life is blurred, as well as the one between appearances and reality; the picture acts as a reversed mirror, reflecting Dorian’s true inner self (or soul) whereas he, “the original” Dorian (28), only shows the deceitful mask of youth and purity. This duplicity is revelatory of a chiaroscuro aesthetic which is reminiscent of Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde (1886) and creates a dark atmosphere. The personality split is however deeply aestheticised here, and partially transferred to a material object, the painting.

If, as Kelly Hurley declared, “Gothic provided a space to explore phenomena at the borders of human identity and culture—insanity, criminality, barbarity, sexual perversion”  ((Kelly Hurley, The Gothic Body: Sexuality, Materialism, and Degeneration at the Fin de Siècle (Cambridge : Cambridge University Press, 1996), 6.)) , Wilde’s novel is exemplary of the fin-de-siècle modern treatment of such themes. By the end of the nineteenth century, new scientific progresses and the emergence of concepts such as degeneration  ((Degeneration was a very influential concept in the eighteenth and nineteenth centuries which linked social behaviours with biological and hereditary features. Degenerationists feared the progressive decline of civilisation due to biological changes, and the concept of degeneration was used by ethnic nationalists to support eugenic theories and the marginalisation of individuals who were believed to be genetically inferior.)) ,  challenged the Victorian faith in rationality, and greatly encouraged writers to create characters who stretched the limits of science and humanity. Thus, the original sublime landscapes and fearful bandits of Horace Walpole’s Castle of Otranto (1764) or Ann Radcliffe’s The Mysteries of Udolpho (1794) gave way to the mad scientists and monstrous creations of Stevenson’s novel or Mary Shelley’s Frankenstein (1818), another major Gothic reference which comes to mind when reading Wilde’s novel. As in Shelley’s narrative, Dorian Gray is in a sense the object of Lord Henry Wollon’s experiment. The latter takes a perverse pleasure in observing the effects of his influence upon the young man, seeing in him “an interesting study” and the product of “his own creation” (55). As the narrator outlines: “he had begun by vivisecting himself, as he had ended vivisecting others” (55). Henry is thus described as Victor Frankenstein’s alter ego, the creator of a destructive avatar who will eventually escape his control.  

In The Picture of Dorian Gray , the transgression of ethical and natural laws serves to demonstrate the limits of bourgeois values of respectability and integrity , in accordance with Wilde’s anti-authoritarian ideas. For in the novel, what is terrifying is not the behaviour of a Caliban-like foreigner (the mention of Shakespeare’s character in the Preface is in that sense significant), but the sinful attitude of an Englishman,  Dorian. In other words, the monstrous comes from within British society itself and from within culture (Basil’s art). In this modern tale of moral degradation taking place in “the native land of the hypocrites” (147), the Irish writer seems to point out the potential drifts of the ennui and indolence pervading the advanced civilisation that British aristocracy embodies.

2. A novel of self-development breaking up with Victorian traditions

Traditional Victorian society believed in the ethical role of literature, which was supposed to provide models of behaviour for the readers through the depiction of a character’s itinerary towards virtuous self-accomplishment. In this respect, The Picture of Dorian Gray is a dark rewriting of the traditional Bildungsroman , as it narrates the psychological and moral growth of the main character. “You have not realised how I have developed. I was a schoolboy when you knew me. I am a man now” (107), Dorian states to Basil, highlighting his own maturation. The beginning of the novel stages Dorian’s realisation of his own seductive potential and his progressive transformation into an image (quite literally), or rather, as it is repeatedly mentioned later on, an artistic ideal of beauty and purity.

The awakening of the innocent Dorian to life and its pleasures (and to homosexuality as some critics have suggested in comparison with Wilde’s personal life) is framed by the twin influences of Basil and Henry. These two characters act as embodiments of opposite pressures forging Dorian’s personality: Basil on the one hand is the optimistic, emotional and religious artist who trusts that the universe is guided by a moral code, whereas Henry more cynically advocates individualism and hedonism, and believes that morality is only arbitrary and relative. Torn between these two antithetical perspectives on human experience, Dorian Gray stands for humanity and embodies the moral issues faced by the nineteenth century as the rise of paganism and hedonism challenged Victorian values of puritanism and stoicism. The same conflict is dramatised in the novels of Henry James, Thomas Hardy, Emily Brontë, Nathaniel Hawthorne, William Thackeray, Herman Melville or George Eliot, in which the protagonist’s purpose is to reconcile such antagonisms, and to find a stable middle-ground harmoniously reuniting heart and mind, desire and duty.

But unlike such novels where moral order is ultimately restored once the villains are punished and virtue triumphs, The Picture of Dorian Gray does not allow for such resolution and Dorian’s preference for Henry’s system of beliefs culminates in the murder of Basil. Furthermore, the novel ends on Dorian’s self-destruction, far from the traditional marriage epitomising personal fulfilment in nineteenth-century narratives. Basil’s unsuccessful attempts to redeem Dorian signal the failure of Victorian morality itself and of its attempts to instrumentalise literature and art for educational purposes . The novel turns into an illustration of the consequences of its downfall, and as such foreshadows pre-WWI novels like Thomas Hardy’s Jude the Obscure (1895) or Edith Wharton’s Ethan Frome (1911) which depict a world where cosmic moral justice no  longer rules and characters are left to fend for themselves, struggling with their excesses and obsessions.

3. A manifesto of Wilde’s Aestheticism and its limits

More than a dark tale of supernatural immortality, The Picture of Dorian Gray is an illustration of Wilde’s aesthetic philosophy, known as Aestheticism. This intellectual and artistic movement became popular in Victorian England under the influence of the writer Walter Pater, in reaction against the new models brought by the industrial revolution which valued performativity and utility over aesthetic pleasure. Close to Theophile Gautier’s Art for Art’s sake credo, Aestheticism asserts the necessity for Art to emancipate itself from educational purposes and moral significance: “the sphere of Art and the sphere of Ethics are absolutely distinct and separate”, Wilde declares in The Critic as Artist  ((Oscar Wilde, “The Critic as Artist”, The Complete Works of Oscar Wilde (London: Collins, 1966), 1048.)) . Similar statements are made in the Preface of the novel (“The Artist is the creator of beautiful things”, “No artist desires to prove anything”), and within the narrative by Lord Henry: “Beauty is a form of Genius – is higher indeed, than Genius, as it needs no explanation”, as he reveals to Dorian in their decisive first encounter (20).

Such beliefs, provokingly uttered by Lord Henry and put into practice by Dorian, led many critics to see in the novel a profoundly immoral narrative, whereas others have argued that it could be read on the contrary as a cautionary tale warning against the dangers of excess and vice, given that the protagonist eventually dies  ((Accusations of immorality came mostly from contemporary critics, from journals like the Daily Chronicle , or the conservative Scots Observer edited by the poet W.E. Henley. More recent studies have highlighted the moral ambiguity of the novel: Philip K. Cohen argues that Wilde is “at moral odds with himself” and that the novel, as a result, is characterized by “narrative schizophrenia” ( The Moral Vision of Oscar Wilde [Rutherford, NJ: Fairleigh Dickinson Univ. Press, 1978], 117-20). See also Gerald Weales (“Foreword,” The Picture of Dorian Gray and Selected Stories [New York: New American Library, 1962]), and Kerry Powell  (“Oscar Wilde ‘Acting’: The Medium as Message in The Picture of Dorian Gray,” Dalhousie Review 58 [1978]: 106) who dwells on the author’s “unresolved confusion”.)) .  The Preface would tend to suggest however that the novel’s ambition is beyond this controversy, and that t he book has no moral aim since it does not offer any clear conclusion, but rather provides philosophical observations on the human condition. Wilde proposes a profound meditation on the role of the artist , through the character of Basil whose depth has been reassessed in recent studies  ((See for instance Houston Baker, “A Tragedy of the Artist: The Picture of Dorian Gray. ”  Nineteenth-Century Fiction  24, no. 3 (1969): 349-55.)) and in whomWilde recognised himself: “Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be—in other ages, perhaps”, the author famously wrote in a letter of 12 February 1894  (( Selected Letters of Oscar Wilde , ed. Rupert Hart-Davis (Oxford, Oxford University Press, 1979), 116.)) .In that perspective, The Picture of Dorian Gray could be read as the tragic downfall of an artist who corrupted his artistic ideal ( Dorian) by mistaking his art for idolatry: “I worshipped you”, Basil confesses to the young man (2). Indeed, the role played by the painter in Dorian’s descent into moral degradation is not to be belittled: it is his picture which revealed to Dorian that he was worthy ofbeing admired and glorified. The novel thus ends on the destruction of the perverted artistic ideal embodied by the painting, the only way for art to return to its pure state. Wilde does not promote hedonistic instinct (embodied by Lord Henry) over conscience (represented by Basil) – nor the contrary, but rather suggests the necessity for both to unite. Indeed, Dorian’s confession to Basil (“Of course, I am very fond of Harry. But I know that you are better than he is. You are not stronger—you are too much afraid of life—but you are better”, 107) suggests that if Basil had possessed Henry’s strength and individualism, he might not have invested so much in the portrait and his encounter with Dorian might not have turned so tragically. Thus, according to Richard Ellmann, the novel represents “the tragedy of aestheticism” and “the aesthetic novel par excellence, not in espousing the doctrine, but in exhibiting its dangers”  ((Richard Ellmann, Oscar Wilde (London: Hamish Hamilton, 1987), 297.)) .

Commented excerpt: Narcissus’s tragedy

In this passage, Dorian has just broken up with the actress Sybil Vane whom he had courted and intended to marry. Coming back home, he realises for the first time that the portrait has altered and rapidly links it to the cruel and selfish way in which he treated her:

As he was turning the handle of the door, his eye fell upon the portrait Basil Hallward had painted of him. He started back as if in surprise […] In the dim arrested light that struggled through the cream-coloured silk blinds, the face appeared to him to be a little changed. The expression looked different. One would have said that there was a touch of cruelty in the mouth. It was certainly strange. He turned round and, walking to the window, drew up the blind. The bright dawn flooded the room and swept the fantastic shadows into dusky corners, where they lay shuddering. But the strange expression that he had noticed in the face of the portrait seemed to linger there, to be more intensified even. The quivering ardent sunlight showed him the lines of cruelty round the mouth as clearly as if he had been looking into a mirror after he had done some dreadful thing. He winced and, taking up from the table an oval glass framed in ivory Cupids, one of Lord Henry's many presents to him, glanced hurriedly into its polished depths. No line like that warped his red lips. What did it mean?  (87)

Dorian is here confronted with the direct and visible consequences of his behaviour as the portrait begins to bear the marks of corruption. The impossibility to identify himself completely with the painting, because of the expression of the mouth, inevitably reminds us of the myth of Narcissus who also failed to recognise his own image in the water. The same dissociation is at work, further highlighted by the presence of the mirror (significantly Lord Henry’s gift) which creates yet another double. This complex dynamic of duplication, or rather duplicity (in the moral sense) which led to Narcissus’s disappointment, announces more tragically Dorian’s downfall.

Wilde’s talent for combining elements of both fantastic and realistic narratives produces a “strange” text, where the personification of the painting (which comes to life) seems to contaminate the description: the shadows “shudder”, and the sunlight is “quivering” while the cruel expression “lingers”. His evocative and rich, ornate style builds up a chiaroscuro aesthetic which pervades the description through the contrast of lights and shadows, as if to better underline Dorian’s own psychological duality. The same precise and symbolic use of vocabulary which characterises Wilde’s writing can be seen in the expression “fantastic shadows”, which is also mentioned at the very beginning of the novel in the metaphorical description of flowers whose beauty is a “burden” (1), and later on again right before Dorian murders Basil (151). The scenes thus echo one another, ominous signs structuring the novel to highlight Dorian’s progression from innocence to monstrous self-destruction.

Bibliography

BAKER, Houston. “A Tragedy Of The Artist: The Picture of Dorian Gray .” Nineteenth-Century Fiction 24, no. 3 (1969): 349-355. www.jstor.org/stable/2932864 .

CARROLL, Joseph. “Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian Gray .” Philosophy and Literature 29, no. 2 (2005): 286-304. https://muse.jhu.edu/article/189431 .

CLAUSSON, Nils. “‘Culture and Corruption’: Paterian Self-Development versus Gothic Degeneration in Oscar Wilde's “The Picture of Dorian Gray”.” Papers on Language and Literature 39, no. 4 (2016): 339-64. https://www.researchgate.net/publication/283516983_'Culture_and_Corruption'_Paterian_Self-Development_versus_Gothic_Degeneration_in_Oscar_Wilde's_'The_Picture_of_Dorian_Gray '.

CRAFT, Christopher. “Come See About Me: Enchantment of the Double in The Picture of Dorian Gray .” Representations 91, no.1 (2005): 109–136. doi: https://doi.org/10.1525/rep.2005.91.1.109 .

DUGGAN, Patrick. “The Conflict Between Aestheticism and Morality in Oscar Wilde’s The Picture of Dorian Gray .” Boston University Art & Sciences Writing Program , Journal, Issue 1, http://www.bu.edu/writingprogram/journal/past-issues/issue-1/duggan/ .

LIEBMAN, Sheldon W. “Character Design in The Picture Of Dorian Gray .” Studies in the Novel 31, no. 3 (1999): 296-316. www.jstor.org/stable/29533343 .

LORANG, Elizabeth. “ The Picture of Dorian Gray in Context: Intertextuality and ‘Lippincott's Monthly Magazine.’” Victorian Periodicals Review 43, no. 1 (2010): 19-41.   www.jstor.org/stable/25732085 .

MANGANIELLO, Dominic. “Ethics and Aesthetics in The Picture of Dorian Gray .” The Canadian Journal of Irish Studies 9, no. 2 (1983): 25-33. www.jstor.org/stable/25512571 .

MATSUOKA, Mitsuharu. “Aestheticism and Social Anxiety in The Picture of Dorian Gray. ” Journal of Aesthetic Education 29 (2003): 77-100. https://pdfs.semanticscholar.org/1a8a/d0fbef9c91942218b1472748cc9fbc7fbb48.pdf .

OATES, Joyce Carol. “ The Picture of Dorian Gray : Wilde's Parable of the Fall.” Critical Inquiry 7, no. 2 (1980): 419-428. www.jstor.org/stable/1343135 .

RIQUELME, John Paul. “Oscar Wilde’s Aesthetic Gothic: Walter Pater, Dark Enlightenment, and The Picture of Dorian Gray .” Modern Fiction Studies 46, no. 3 (2000): 609-631. https://muse.jhu.edu/article/21511 .

WILDE, Oscar.  The Picture of Dorian Gray.  London: Harper Collins, 2010 [based on the 1891 book edition].

Pour citer cette ressource :

Louise Bailly , " Aestheticism and Morality in Oscar Wilde’s « The Picture of Dorian Gray» (1890) ", La Clé des Langues [en ligne], Lyon, ENS de LYON/DGESCO (ISSN 2107-7029) , septembre 2020 . Consulté le 30/08/2024 . URL: https://cle.ens-lyon.fr/anglais/litterature/litterature-britannique/aestheticism-and-morality-in-the-picture-of-dorian-gray

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The Picture of Dorian Gray

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The Picture of Dorian Gray , moral fantasy novel by Irish writer Oscar Wilde , published in an early form in Lippincott’s Monthly Magazine in 1890. The novel, the only one written by Wilde, had six additional chapters when it was released as a book in 1891. The work, an archetypal tale of a young man who purchases eternal youth at the expense of his soul, was a romantic exposition of Wilde’s own Aestheticism .

The story begins in the art studio of Basil Hallward, who is discussing a current painting with his witty and amoral friend Lord Henry Wotton. Henry thinks that the painting, a portrait of an extraordinarily beautiful young man, should be displayed, but Basil disagrees, fearing that his obsession with the portrait’s subject, Dorian Gray , can be seen in the work. Dorian then arrives, and he is fascinated as Henry explains his belief that one should live life to the fullest by indulging one’s impulses. Henry also points out that beauty and youth are fleeting, and Dorian declares that he would give his soul if the portrait were to grow old and wrinkled while he remained young and handsome. Basil gives the painting to Dorian.

Henry decides to take on the project of molding Dorian’s personality. A few weeks later, Dorian tells Henry that he has fallen in love with an actress, Sibyl Vane, because of her great beauty and acting talent. Henry and Basil go with him to a dingy theatre to see Sibyl, but her performance is terrible. Sibyl explains to Dorian that now that she knows what real love is, she can no longer pretend to be in love on stage. Dorian is repulsed and wants nothing further to do with her. When he returns home, he sees a cruel expression on the face of his portrait, and he decides to seek Sibyl’s forgiveness. Henry arrives the next day, however, with news that Sibyl committed suicide the previous night, and he convinces Dorian that there is no reason for him to feel badly about it.

Dorian has the portrait removed to his attic. Henry sends Dorian a book that he finds poisonous and fascinating (critics have suggested that it might be Against the Grain by Joris-Karl Huysmans ). Under the book’s influence, Dorian spends the next 18 years in the pursuit of capricious and sybaritic excess, and he becomes increasingly drawn to evil. He frequently visits the portrait, noting the signs of aging and of corruption that appear, though he himself remains unblemished.

One evening he runs into Basil, who tells him that there are rumours that he has destroyed the lives and reputations of many people. Dorian, however, refuses to accept blame. Basil declares that he clearly does not know Dorian, who responds by taking him to the attic to see the portrait. The painting has become horrifying. Basil tells Dorian that if this is a reflection of his soul, he must repent and pray for forgiveness, and a suddenly enraged Dorian murders Basil. He blackmails another former friend into disposing of the body.

Dorian goes to an opium den, where Sibyl’s vengeful brother, James, finds him, but the fact that Dorian still appears quite young dissuades him from acting. However, another patron of the den later divulges Dorian’s age. At a subsequent hunting party at Dorian’s country estate, one of the hunters accidentally shoots and kills James, who was hiding in a thicket.

Some weeks later Dorian tells Henry that he has decided to become virtuous and recently decided against taking advantage of a young girl who was smitten with him. Dorian goes to see if the portrait has improved because of his honourable act, but he sees rather that it has acquired a look of cunning. He decides to destroy the portrait and stabs it with a knife. His servants hear a scream, and, when they arrive, they see a loathsome old man dead on the floor with a knife in his chest and a portrait of the beautiful young man he once was.

“There is no such thing as a moral or an immoral book,” wrote Wilde. “Book are well written, or badly written. That is all.” The aphorisms that make up the “Preface” of Wilde’s novel were his response to those critics who had denounced the immorality and unhealthiness of this story after its scandalous first appearance in Lippincott’s Monthly Magazine . However, for all its transgressive delights, The Picture of Dorian Gray could easily be read as a profoundly moral book, even a cautionary tale against the dangers of vice. Dorian’s descent into moral squalor is neither admirable nor enviable. Indeed, the beautiful boy is the least interesting character in the book that bears his name. To be sure, it is the epigrammatic wit of Lord Henry Wotton that encourages Dorian on his quest for sensuality and sensation, but Dorian’s values pervert the deeply serious Wildean ethic that they superficially resemble. Whereas Wilde’s essays advocated individualism and self-realization as a route to a richer life and a more just society, Dorian follows a path of hedonism, self-indulgence, and the objectification of others. It is nonetheless a story that poignantly reflects Wilde’s own double life and anticipates his own fall. Dorian’s negation, “Ugliness was the one reality,” neatly summarizes Wilde’s Aestheticism, both his love of the beautiful and his fascination with the profane.

Publication of the novel scandalized Victorian England, and The Picture of Dorian Gray was used as evidence against Wilde when he was tried and convicted in 1895 on charges related to homosexuality . The novel became a classic of English literature and was adapted into a number of films, most notably a 1945 version that was directed by Albert Lewin and received three Academy Award nominations .

The People, Ideas, and Things Journal

Quite Useless: Truth, Art, and Life in Oscar Wilde’s The Picture of Dorian Gray

In his examination of art in human form, Oscar Wilde ultimately concludes that art is not a means of striving for Absolute Truth, as Plato describes Form to be. Wilde’s choice of a man as his object of analysis is no coincidence; for him, the human soul itself is Form. Wilde’s world differs from Plato’s in that it is devoid of references to a Creator. Man is at the forefront of his work and destiny. For Plato, the artist is nothing but an imitator of God’s creations (of which he is one). Wilde, on the other hand, views the artist as capable of expressing a personal truth. His expression thus has potential for perfection, being connected with the Form (as Wilde understands Form) it emulates. Wilde’s vision of art has a capability of purity and authenticity that is lacking in Plato’s perspective.

Wilde subverts the Platonic tradition by introducing a different vision of integrity, perhaps suggesting that the Victorian Europe in which he lived was in need of self-examination, artistic as well as moral. However, the secular Aestheticism of Dorian Gray was somewhat extreme to Victorian England, and was by no means universally accepted as a valid movement in a society finely tuned to the evolutions of the Anglican Church. Oscar Wilde’s deviations from Plato’s influence and his distinctive approach to artistic theory were therefore very relevant, even revolutionary in a time when the traditions of the past were stubbornly enduring.

Introduction

In Book X of his Republic, Plato claims that art is a corruption of Truth; the two are opposing forces, he argues. This position is supported by his explanation of mimesis, or representation, which states there is one true Form behind every thing in existence. According to Plato’s philosophy, it is the “thingness” of the thing that makes it what it is. The “thing” that we know is merely a reproduction of its true Form. Humans, Plato argues, can never attain direct access to the Form, instead only a select few – philosophers — are able to briefly glimpse the universal and unchanging true Form. Subsequently, all art is a reproduction of a reproduction; artists depict only semblances, not realities. Thus a thing as we see it is merely a representation removed from its true state, and the painting/poem/etc. of the thing is one level further removed; “The work of the artist is the third remove from the essential nature of the thing” (Plato 327). As a cornerstone of Western philosophy, Plato’s metaphysics has given rise to a lengthy and ongoing debate over the relationship between Art and Truth (with a capital “T”).

As a student at Oxford and a gifted Greek scholar[1], Oscar Wilde was intimately acquainted with the works of Plato. The Picture of Dorian Gray, I argue, is Wilde’s participation in this ongoing debate. Viewed through the lens of Plato, Wilde’s work can reveal his personal ideas on the relationships between art, truth, and life. Plato’s writings examine art in a moral light, and ultimately conclude that only useful (instructive or inspirational) art must be allowed in his Republic[2]. Wilde, conversely, states in his foreword, “there is no such thing as a moral or an immoral book. Books are well written or badly written” (Wilde 3). The “morality” (or lack thereof) in Dorian Gray is therefore central to the Wilde’s artistic manifesto. While Plato’s influence is very much present in Wilde’s work, for instance they share the concept of Form, the two writers disagree markedly on the nature of artistic truth.

I argue that Wilde uses the character of Dorian in the novel to explore the relation between Truth and different parts of an artwork: the Form (the portrait) and the representation (Dorian’s person). Dorian’s evolving relationship with his portrait, and his attitude towards time illustrate his isolation from the true human experience, even as he prides himself in experiencing more than most humans. Dorian’s failure to achieve a “harmony with self” and its Platonic implications of understanding and valuing Truth play an important part in Dorian’s dissociation from society and reality. Ultimately, the parallel between unity with one’s self and “truth” in the sense of Platonic Form/perfection are what distinguish Wilde’s Dorian Gray from its Platonic sources and establish Wilde’s artistic theory.

I contend that Wilde also uses the character of Basil Hallward, the “artist” figure in the novel who paints the notorious picture of Dorian, to engage Plato’s critique of Art. Plato argues that the artist knows nothing of his subject matter, but merely disguises his ignorance with artful tricks. In Plato’s view, the painter – especially one who worships many beauties without regard for the essential Truth of the beautiful – is to a portrait as a sophist is to language. But Wilde’s character Basil knew Dorian well, and with the aid of his artist’s eye and skill, placed him on the canvas with an extreme accuracy that was more than physical; Basil thus neatly defies Plato’s description of an artist’s limitations and is presented as capable of using art to interrogate Truth.

Plato’s Partiality

Plato contends that an artist can only portray his subject from a single angle, thus making the representation always partial[3] – incomplete. But Basil produces a lifelike painting, one which all parties agree is complete even as they behold the original standing beside it. In the end, his portrait was so lifelike that Dorian, defending it from destruction, says that to destroy it would be murder (Wilde 27). Not only does this assertion challenge Plato’s position on the relation between art and Truth, it also calls into question the relation between art and life. Whereas Plato theorizes that artists’ creations are based on appearances rather than realities, Wilde portrays Basil’s art as more than simply an image or a painting; Dorian’s portrait attains an impossibly vital quality.

For Plato, this degree of accuracy – one might even say of Truth – is beyond the realm of art. He explains, “apparently the reason there is nothing [the art of representation] cannot produce is that it grasps only a small part of any object, and that only an image” (Plato 328). Basil’s other artwork is inferior when compared with Dorian’s portrait and lacks the insightful breakthrough displayed in Dorian’s embodiment on the canvas. Basil’s inferior work thus seems consistent with Plato’s generalizations about art as incomplete reproductions — partial facsimilies of an unknown and unknowable Truth. By having Basil achieve this caliber of perception in Dorian’s portrait, Wilde elevates the role of the artist to parallel that of Plato’s philosopher. As a result, Wilde suggests that art makes extraordinary insight into the human soul and Truth possible. Basil has perceived not only the exterior partial appearance of the “thing,” in this case the personage of Dorian Gray, but he has also grasped his essential Form and expressed it in the medium of paint on canvas. It is more than simply a representation of Dorian’s external appearance; it is a portrait of his soul. In this case, the soul is the true Form of the human, and the representation of it is so exact that the art and Form are indistinguishable in the painting.

Embodied Truth: Art and Reality

Over the course of the novel, however, Form and art diverge. Dorian’s own face remains fixed, ever as Basil painted it while the painted Dorian deteriorates as his soul does. In other words, the portrait functions as a direct representation of Dorian’s soul. After first reacting with horror and dismay at the discovery his portrait has altered, Dorian quickly becomes fixated with the painting. Basil’s portrait acts as a mirror, reflecting an accurate portrayal when all others are falsely present Dorian with a youthful façade. Wilde’s notion that the artist is capable of perceiving Truth akin to the insight of a philosopher is here reinforced. As the narrator describes: “there would be real pleasure in watching it. He would be able to follow his mind into its secret places. This portrait would be to him the most magical of mirrors. As it had revealed to him his own body, so it would reveal to him his own soul” (Wilde 89). The portrait is presented as a potentially positive force when Dorian initially resolves it will be a “guide to him throughout life” (Wilde 81). With this, Wilde seems to be suggesting the potential for art to function as a sort of metaphysics for Dorian.

Despite his vow to lead a “guided life,” as the portrait displays the physical repercussions of his lifestyle, Dorian views this strange phenomenon in terms of novelty of experience and pleasure, as well as selfish gain. For example, after Sibyl’s death he realizes (with Lord Henry’s help) that he is not so much emotionally distraught as he is appreciative of the beautifully tragic situation (Wilde 85). His statement that he as good as killed Sibyl is immediately followed by the revelation, “Yet the roses are not less lovely for all that” (Wilde 83). Life is an extraordinary drama, and yet Dorian expresses, “[I] cannot feel this tragedy as much as I want to” (Wilde 84). According to Lord Henry, this is because he is fulfilling the roles of both actor and spectator in his own great drama and thus experiences it aesthetically, rather than emotionally (Wilde 85). To Dorian, Sibyl was merely a minor character who brightened his life for a moment and then was gone. She was never real; indeed, few (if any) people are real to him. Dorian sees everything in terms of its artistic appeal as it relates to himself. From the moment he learns of her death, he sees himself and his life as art. Before, he was simply experimental in an offhand way, and still retained some form of innocence and purity of emotion in his desires and actions (for example, in his love for Sibyl). This new mix of narcissism and artistic obsession is a turning point in his life; therein lies his downfall.

As Lord Henry suggests, Dorian’s disconnection comes from being the artist of the work of art that is his life, the work of art itself, and the spectator in one. He lacks the distanced perspective necessary for a spectator to form judgment of a work. Plato would call this distance between the art and the viewer ignorance; he argues that artists seem skilled only through the onlookers’ lack of knowledge of their subjects (Plato 328-9, 331). Wilde would evidently disagree, perhaps arguing instead that this perspective is what allows different people to experience a single work of art in a variety of ways, in keeping with his epigram that “It is the spectator, and not life, that art really mirrors” (Wilde 4). Dorian’s intimate familiarity with the work of art (himself) makes him a poor judge of it.

Dorian constantly consults the portrait, comparing it with his own reflection in a mirror (Wilde 106). He “mocks” the painting, glorying in his victory over the effects of his manner of living. The divergence of Dorian’s external and internal states represents the divergence of his soul and his external appearance and life as a drama, or art. In this divergence, Wilde finds some common ground with Plato. Though they disagree on art’s role (as corrupting or enhancing society) and the potential of the artist to capture a subject’s essence, they at least agree on the dangers that exist in discrepancies between the Form and representation, the reality and the ideal.

The appearance and actions of Dorian’s artful exterior no longer correspond with his soul, creating an interesting parallel to Plato’s ideas about the distortion of art removed from Form. Wilde condemns Dorian’s loss of integrity more than he condemns the superficially apparent fault of Dorian’s life of unchecked pleasure. Most simply, this is evidenced by the fact that his demise comes through the portrait/ himself, as opposed to an external, judgment-dealing force. Dorian’s poisoned connection with the painting connects directly to Plato’s ideas about the distortion of art as it is removed from Form. As he fails to maintain the sacred connection between himself and his soul (which Wilde presents as a means of transcending the “removes” of Plato), the unity of art, artist, and Form fades to reveal a combative artist using art as a weapon against Form. What could have been for Dorian a pure means of communication with his own soul becomes a haunting reminder of his past. Dorian’s fear of his own degenerating portrait illustrates Lord Henry’s assertion that “people are afraid of themselves (Wilde 19). With the spoliation of the portrait, art sinks to an inferior form. For example, in addition to his pleasure-seeking lifestyle, Dorian extensively collects art, jewels, and other expensive objects in an attempt to fill his life with beauty as a “means of forgetfulness,” to distract him from his “fear” of the portrait.

Dorian’s dichotomy of self also manifests in his treatment of time. Though he escapes its ravages externally, Dorian does not understand time’s essential role in all individuals’ lives. Like the painting, people are ever-changing, but Dorian denies or cannot comprehend the [trans]formative power of experience. The implications of the painting’s evolution only intrigue him because his own soul is in question. In the portrait, he sees an alternate yet omnipresent reality for himself, the temporality and devolution of which, he fights by struggling to live exclusively in the present. Unlike most portraits that represent a moment frozen in time, Dorian’s portrait possesses a vital quality by representing externally his inner changes.

After Sibyl’s death, Dorian shocks Basil by recovering so quickly, saying, “What is done is done. What is past is past” (Wilde 90). In this way, Dorian is in fact a strange combination of insatiability and selectivity (where his memories are concerned). His quest for novel experience leads him to partake recklessly and greedily of both horrors, which he attempts to ignore, and ecstasies. He constantly tries to deny the past in general, as well as specific events that plague him with anxiety, but the portrait allows the past to remain hauntingly visible. Dorian’s attitude is problematic because his whole philosophy of experience depends on the past; his recollections of these experiences are all he retains of them. Dorian tries to hoard his experiences, mistakenly believing experience is a thing to be collected, and with impunity. He does not understand that he cannot choose which experiences he retains and which he ignores; as he said himself, “What is done is done. The past is the past,” no matter what ecstasies or horrors it may contain (Wilde 90).

Drawing on a Platonic premise, Wilde says in his preface, “The moral life of man forms part of the subject matter of the artist, but the morality of art consists in the perfect use of an imperfect medium”(Wilde 3). In the case of Dorian Gray, Wilde presents the failed life of Dorian as an imperfect use of a perfect medium, life itself. Life as art is the ultimate in aesthetic triumph, yet it is impossible to emerge with a flawless masterpiece. On the other hand, Plato writes, “Strip what the poet has to say of its poetical colouring, and I think you must have seen what it comes to in plain prose. It is like a face which was never really handsome, when it has lost the fresh bloom of youth” (Plato 331). Oscar Wilde has answered this attack on art as being without substance with his own interpretation of Plato’s comparison. His experiment of divorcing the soul from the exterior, the Form from the “poetical coloring” shows that when these are divided, art fails in its inconsistency with its true nature. When united at the beginning of the novel in Basil’s studio, Dorian’s body and soul are true art. They embody not only beauty, but also integrity through an exact correspondence.

Lord Henry says, “To be good is to be in harmony with one’s self” (Wilde 67). Of course he is defending his doctrine of selfish living, but ultimately, this is the fundamental fault of Dorian Gray. He is not in harmony with himself because he refuses to heed the warnings of his soul, which take the form of the painting he declared to be “a part of [himself]” (Wilde 27). He follows sensation intemperately, failing to see the higher pleasure which may be gained from unity with his soul. The painting constantly deteriorates because Dorian refuses to let it affect his actions and reveals the corresponding dissonance between his body and his soul as it is represented in the portrait. Thus conflicted, he remains psychologically static in a world which, he refuses to admit, is in a constant state of flux.

Plato warned against being internally divided, and he saw art as dangerous because of the divisions it could create within a man (“And in all these experiences has a man an undivided mind? Is there not an internal conflict which sets him at odds with himself in his conduct…?”) (Plato 335). Wilde agrees with Plato insofar as he supports unity with oneself. However, here the two writers’ conceptions of Truth differ. Plato sees Form as Truth; Wilde seems to present an alternate idea of a shifting Truth. Wilde’s Truth comes from the Form of the soul (represented in the portrait of Dorian) expressed in art. Whereas Plato sees art as removed from an external Truth/Form (good art is a twice removed instantiation of Truth according to Plato), Wilde sees art as aspiration towards a Truth/Form found within, which is not absolute and static, but relative and evolving.

The most evident reason Lord Henry’s New Hedonism appeals to Dorian is its support of his lifestyle of independence and self-involvement; however, Dorian fails to see the greater value in change, the natural and desirable (and usually inevitable) human process of evolving with experience. Experience-driven evolution is an aspect of pleasure, and one that Dorian missed. It is perhaps because of this that his actions are ultimately so destructive. Wilde’s novel reveals that the human experience upon which art depends is very much relative to individual experience, in a way that Dorian fails to grasp.

The end of the novel emphasizes Dorian’s refusal to acknowledge that human experience is constantly evolving leaving the relationship between Truth, art, and life unsettled. It is an ending, not a conclusion; the book finishes somewhat abruptly, with minimal closure. The exterior facade will never reconcile with his portrait, and Dorian Gray dies afraid of himself, haunted by the painting over which he once gloated triumphantly. His journey is a multi-layered study of human nature, as well as an exploration of the subtle interactions between artist, art, life, and truth.

[1] In addition to his later advanced study at University, the young Wilde won the Berkeley Gold Medal for his study of Greek at Trinity College, Dublin (Wilde 517)

[2] Plato’s issue with art is in its raw appeal to and power over the people, a power which causes them to revere and value the art without any intellectual grasp of it or assessment of its integrity.

[3] Plato contends that unlike the artist, the philosopher can contemplate many forms while having a single viewpoint.

Gillespie, Michael Patrick. “Picturing Dorian Gray.” The Picture of Dorian Gray. Ed. Michael Patrick Gillespie. New York: Norton & Co., 2007. 393-409.

Plato. Republic. Trans., Ed. Francis MacDonald Cornford. New York: Oxford University Press, 1957.

Wilde, Oscar. The Picture of Dorian Gray. Second Edition. Ed. Michael Patrick Gillespie. New York: Norton & Co., 2007.

Snapshot image from Flickr; licensed with Creative Commons attribution and share alike rights; “Paint 2” by Rev Dan Catt;

Sarah Huener

English Sarah's research interests include 20th Century poetry and prose, Baroque music and performance practice, and transcontinental literary thought.

Tags: art interpretation literature philosophy religion

English Sarah's research interests include 20th Century poetry and prose, Baroque music and performance practice, and transcontinental literary thought.

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The Picture of Dorian Gray Informative Summary

The Picture of Dorian Gray is a novel by Oscar Wilde that explores the themes of beauty, morality, and the corrupting influence of hedonism. The story revolves around Dorian Gray, a young man of extraordinary beauty who becomes enthralled by the philosophy of Lord Henry Wotton, a charismatic and cynical aristocrat. Wotton introduces Dorian to a life of pleasure and self-indulgence, urging him to embrace his youth and live for the moment. Dorian, consumed by the desire for eternal youth, makes a wish that the portrait painted by his friend Basil Hallward will age and bear the marks of his sins, while he remains eternally youthful.

As Dorian succumbs to the temptations of the world, his soul becomes increasingly corrupted, and the portrait reflects the dark transformation within him. The novel follows Dorian’s descent into a life of vice and crime, highlighting the consequences of his actions on both his soul and his relationships. As the portrait ages and decays, Dorian’s youthful appearance remains unchanged, creating a stark contrast between his inner and outer selves.

Key Findings:

• The corrupting influence of hedonism:  The novel explores the destructive nature of a life solely focused on pleasure and self-gratification. Dorian’s pursuit of hedonistic desires leads him down a path of moral decay and ultimately to ruin.
• The power of beauty:  Wilde examines the allure of beauty and its role in shaping perceptions and influencing behavior. Dorian’s obsession with his own beauty fuels his pursuit of pleasure and ultimately leads to his downfall.
• The nature of the soul:  The novel delves into the complexities of the human soul, its capacity for both good and evil, and the consequences of moral choices. The portrait serves as a tangible representation of Dorian’s inner state, revealing the true nature of his soul.
• The duality of man:  The contrast between Dorian’s youthful exterior and the aging, corrupted portrait highlights the duality of human nature. The novel suggests that the external appearance can be deceiving, and that true beauty lies within.
• The seductive nature of sin:  The novel shows how easily one can become consumed by the allure of pleasure and indulgence. Dorian’s descent into a life of vice exemplifies the dangers of unchecked desires.
• The importance of inner beauty:  The novel emphasizes the significance of inner beauty and the consequences of prioritizing outward appearances. The aging portrait serves as a stark reminder that true beauty comes from within.
• The responsibility of our actions:  The novel demonstrates the interconnectedness of actions and consequences. Dorian’s choices have a profound impact on his soul and the people around him.
• The enduring power of art:  The portrait serves as a powerful metaphor for the enduring power of art, its ability to reveal and reflect truth, and its capacity to challenge societal norms.

Historical Context:

The Picture of Dorian Gray was written in 1890, during a period of significant social and cultural change in England. The Victorian era, with its emphasis on moral uprightness and traditional values, was giving way to a more decadent and aesthetically focused society. The novel reflects this shift, exploring themes of aestheticism, hedonism, and the growing questioning of traditional morality.

• Dorian Gray’s mother was a Devereux.  She was a beautiful woman known for her romantic nature and her tragic life.
• Dorian’s grandfather was Lord Kelso.  He hated Dorian and never treated him kindly.
• Dorian’s mother ran away with a subaltern in a foot regiment.  He was killed in a duel a few months after their marriage.
• Dorian’s mother died within a year of her husband’s death.
• Dorian’s mother inherited the Selby property.  This made him a wealthy young man.
• Lord Henry Wotton is married to a woman who is “very good at deception”.  They tell each other absurd stories and never know what the other is doing.
• Lord Henry Wotton believes that all influence is immoral.  He argues that it forces people to live a life that is not their own.
• Dorian Gray’s portrait is painted by his friend Basil Hallward.  The portrait becomes the central object in the novel, symbolizing Dorian’s soul and the consequences of his choices.
• Dorian Gray falls in love with an actress named Sibyl Vane.  She is a talented young woman who lives a life of poverty with her mother.
• Dorian Gray becomes obsessed with Sibyl Vane’s acting ability.  He sees her as a manifestation of the great heroines of literature.
• Dorian Gray is “terrified” by Lord Henry Wotton’s views on life.  Wotton’s cynicism and hedonistic philosophy have a profound impact on Dorian.
• Dorian Gray believes that “the only thing worth loving is an actress.”  He is captivated by their ability to transform themselves and create new worlds.
• Sibyl Vane’s acting deteriorates after she falls in love with Dorian Gray.  She can no longer distinguish between reality and fantasy.
• Dorian Gray breaks off his engagement with Sibyl Vane after she fails to act well.  He is deeply disappointed by her loss of talent and her inability to live up to his expectations.
• Sibyl Vane commits suicide by drinking a poisonous substance.  She is unable to cope with Dorian’s rejection and the loss of her artistic identity.
• Basil Hallward is shocked by Dorian Gray’s indifference to Sibyl Vane’s death.  He questions Dorian’s character and believes he has been corrupted by Lord Henry Wotton’s influence.
• Dorian Gray is horrified by the changes in his portrait.  The portrait reveals the true nature of his soul, becoming a physical embodiment of his sins and corruption.
• Dorian Gray hides the portrait in a locked room.  He fears that the world will see his secret and judge him.
• Dorian Gray’s hedonistic lifestyle leads to a life of vice and crime.  He becomes involved with theft, murder, and other criminal activities.
• Dorian Gray’s youthful appearance remains unchanged throughout the novel.  He is eternally youthful, but his soul becomes increasingly corrupted and aged.

Statistics:

• Lord Henry Wotton has at least 18 photographs of Dorian Gray.
• Dorian Gray pays a guinea for a stage box at the theatre.  This is a significant amount of money in the 19th century, showcasing his wealth and willingness to indulge.
• Sibyl Vane is bound to Mr. Isaacs, a theatrical manager, for two years and eight months.  This demonstrates the power of contracts and the exploitation that can occur in the entertainment industry.
• Lord Henry Wotton buys a piece of old brocade for hours.  This highlights his appreciation for fine objects and his willingness to spend money on luxurious items.
• Dorian Gray is engaged to Sibyl Vane for a week.  The engagement is a whirlwind romance, showcasing the intensity of his feelings and his desire for instant gratification.
• Sibyl Vane is seventeen years old at the time of her death.  She is a young woman who dies tragically due to her love for Dorian.
• Dorian Gray has nine large-paper copies of the first edition of a novel that influences him deeply.  This reflects his love of fine literature and his desire to own rare objects.
• Dorian Gray throws a party every Wednesday during the season.  He is a socialite who entertains the elite of London.
• Dorian Gray’s house is decorated with exotic flowers, embroidered cloths, and antique gold and silver plate.  This illustrates his pursuit of luxury and his exquisite taste.
• Dorian Gray owns three emeralds of “extraordinary size and richness of color”.  He is a collector of valuable jewels, showcasing his wealth and his interest in beautiful things.
• Dorian Gray wears a costume covered with 560 pearls to a costume ball.  This demonstrates his love of extravagance and his ability to create a spectacle of himself.
• Dorian Gray has a special passion for ecclesiastical vestments.  He collects rare and beautiful pieces of church attire, showcasing his interest in the beauty and symbolism of religion.
• The portrait of Dorian Gray is hidden in a room that has not been opened for five years.  This emphasizes the secrecy and isolation of the portrait, and the lengths Dorian goes to protect his secret.
• Basil Hallward travels to Paris by the midnight train with only a Gladstone bag and an ulster.  This illustrates the simplicity of his lifestyle in contrast to Dorian’s extravagance.
• Basil Hallward claims he has not seen Dorian Gray for “ages”.  This emphasizes the distance that has grown between them, highlighting the impact of Dorian’s changed life.
• The inquest on Sibyl Vane is held at the Bell Tavern, Hoxton Road.  This reflects the poverty and hardship of her life.
• Dorian Gray is nearly blackballed at a West End club.  This shows the social consequences of his actions and the rumors circulating about him.
• Dorian Gray’s country house is described as “gorgeous in its pomp and decoration”.  This showcases his wealth and the luxurious lifestyle he has cultivated.
• Dorian Gray travels to various locations, including Trouville, Algiers, and his country house in Nottinghamshire.  This highlights his restless nature and his desire for new experiences.
• Dorian Gray is 38 years old at the time of his encounter with Basil Hallward.  He is no longer a young man, despite his youthful appearance.
• Hedonism:  The pursuit of pleasure and self-indulgence as the primary goal of life.
• Aestheticism:  A philosophy that emphasizes the importance of beauty and artistic expression.
• Dandyism:  A mode of life characterized by elegance, refinement, and an emphasis on personal appearance.
• Cynicism:  A distrust of human nature and motives, often characterized by skepticism and a negative view of the world.
• Egotism:  Excessive preoccupation with oneself and one’s own interests.
• Incarnation:  A person who embodies or represents a particular idea or concept.
• Philistine:  A person who is uncultured or insensitive to art and beauty.
• Anglomania:  A strong enthusiasm for English culture and fashion.
• Hypocrite:  A person who pretends to be better or more virtuous than they actually are.
• Blasphemy:  An act or utterance that shows disrespect or contempt for God or sacred things.
• Lord Henry Wotton’s influence on Dorian Gray:  Wotton introduces Dorian to a life of hedonism and teaches him to prioritize pleasure and self-indulgence. He encourages Dorian to explore his senses and live for the moment, leading him down a path of moral corruption.
• Sibyl Vane’s acting:  Sibyl is a talented actress who embodies the characters she plays. However, after falling in love with Dorian Gray, she loses her ability to separate reality from fantasy and her acting deteriorates.
• The portrait of Dorian Gray:  The portrait serves as a powerful symbol of Dorian’s soul and the consequences of his choices. As Dorian becomes increasingly corrupted, the portrait reflects the dark transformation within him.
• Dorian Gray’s life of vice:  Dorian becomes involved in theft, murder, and other criminal activities, showcasing the corrupting influence of his hedonistic lifestyle.
• Dorian Gray’s pursuit of beauty:  Dorian becomes obsessed with his own beauty, seeking to preserve his youthful appearance at all costs. He is captivated by the beauty of art, jewels, and sensory experiences.
• Dorian Gray’s relationships:  Dorian’s relationships with Basil Hallward and Lord Henry Wotton are deeply affected by his pursuit of pleasure and his corruption.
• Basil Hallward’s devotion to Dorian Gray:  Hallward is deeply devoted to Dorian, seeing him as an artistic ideal. His love for Dorian is both passionate and tragic, as he witnesses Dorian’s descent into darkness.
• The rumors and scandals surrounding Dorian Gray:  The rumors spread about Dorian’s lifestyle create an aura of mystery and danger around him. They reflect the fear and fascination that he inspires in others.
• Dorian Gray’s fascination with the past:  Dorian is captivated by the history of sin and corruption, finding inspiration in the lives of historical figures who have succumbed to vice.
• Dorian Gray’s relationship with Sibyl Vane:  Sibyl is a symbol of innocence and beauty. Dorian’s love for her is passionate, but ultimately destructive, as he is unable to accept her as she truly is.

Conclusion:

The Picture of Dorian Gray is a cautionary tale about the dangers of unchecked hedonism and the corrupting influence of beauty. Dorian Gray’s pursuit of pleasure and his refusal to face the consequences of his actions lead to his moral downfall and the destruction of his soul. The novel serves as a reminder that true beauty comes from within and that a life solely focused on outward appearances can be empty and destructive. Through Dorian’s journey, Wilde explores the complexities of human nature, the enduring power of art, and the importance of living a life that is both beautiful and meaningful.

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